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She was alone implies simply the absence of company, she was lonely stresses the feeling of melancholy and desolation resulting from being alone. A single tree on the plain states plainly that there is (was) only one tree, not two or more. A lonely tree on the plain gives essentially the same information, that there was one tree and no more, but also creates an emotionally coloured picture.

In the group to tremble — to shiver — to shudder — to shake, the verb to shudder is frequently associated with the emotion of fear, horror or disgust, etc. (e. g. to shudder with horror) and therefore can be said to have an emotive connotation in addition to the two others (see the scheme in Ch. 7, p. 136).

One should be warned against confusing words with emotive connotations and words with emotive denotative meanings, e. g. to love — to admire — to adore — to worship; angry — furious — enraged; fear — terror — horror. In the latter, emotion is expressed by the leading semantic component whereas in the former it is an accompanying, subsidiary characteristic.

IV. The evaluative connotation conveys the speaker's attitude towards the referent, labelling it as good or bad. So in the group well-known — famous — notorious — celebrated, the adjective notorious bears a negative evaluative connotation and celebrated a positive one. Cf.: a notorious murderer, robber, swindler, coward, lady-killer, flirt, but a celebrated scholar, artist, singer, man-of-letters.

In the group to produce — to create — to manufacture — to fabricate, the verb to create characterises the process as inspired and noble. To manufacture means "to produce in a mechanical way without inspiration or originality". So, to create can be said to have a positive evaluative connotation, and to manufacture a negative one.

The verbs to sparkle and to glitter are close synonyms and might well be favoured by supporters of the interchangeability criterion. Yet, it would be interesting to compare the following sets of examples:

A. His (her) eyes sparkled with amusement, merriment, good humour, high spirits, happiness, etc. (positive emotions).

B. His (her) eyes glittered with anger, rage, hatred,
malice, etc. (negative emotions).

The combinability of both verbs shows that, at least, when they are used to describe the expression of human eyes, they have both emotive and evaluative connotations, and, also, one further characteristic, which is described in the next paragraph.

V. The causative connotation can be illustrated by the examples to sparkle and to glitter given above: one's eyes sparkle with positive emotions and glitter with negative emotions. However, this connotation of to sparkle and to glitter seems to appear only in the model "Eyes + Sparkle/Glitter".

The causative connotation is also typical of the verbs we have already mentioned, to shiver and to shudder, in whose semantic structures the cause of the act or process of trembling is encoded: to shiver with cold, from a chill, because of the frost; to shudder with fear, horror, etc.

To blush and to redden represent similar cases: people mostly blush from modesty, shame or embarrassment, but usually redden from anger or indignation. Emotive connotation can easily be traced in both these verbs.

VI. The connotation of manner can be singled out in some groups of verbal synonyms. The verbs to stroll — to stride — to trot — to pace — to swagger — to stagger — to stumble all denote different ways and

types of walking, encoding in their semantic structures the length of pace, tempo, gait and carriage, purposefulness or lack of purpose (see, for instance, the quotations on p. 184—187).

. The verbs to peep and to peer also have this connotation in their semantic structures: to peep = to look at smb./smth. furtively, by stealth; to peer = to look at smb./smth. with difficulty or strain.

The verbs to like — to admire — to love — to adore — to worship, as has been mentioned, are differentiated not only by the connotation of intensity, but also by the connotation of manner. Each of them describes a feeling of a different type, and not only of different intensity.

VII. The verbs to peep and to peer have already been mentioned. They are differentiated by connotations of duration and manner. But there is some other curious peculiarity in their semantic structures. Let us consider their typical contexts.

One peeps at smb./smth. through a hole, crack or opening, from behind a screen, a half-closed door, a newspaper, a fan, a curtain, etc. It seems as if a whole set of scenery were built within the word's meaning. Of course, it is not quite so, because "the set of scenery" is actually built in the context, but, as with all regular contexts, it is intimately reflected in the word's semantic structure. We shall call this the connotation of attendant circumstances.

This connotation is also characteristic of to peer which will be clear from the following typical contexts of the verb.

One peers at smb./smth. in darkness, through the fog, through dimmed glasses or windows, from a great distance; a short-sighted person may also peer at things. So, in the semantic structure of to peer are encoded circumstances preventing one from seeing clearly.

VIII. The synonyms pretty, handsome, beautiful have been mentioned as the ones which are more or less interchangeable. Yet, each of them describes a special type of human beauty: beautiful is mostly associated with classical features and a perfect figure, handsome with a tall stature, a certain robustness and fine pro portions, pretty with small delicate features and a fresh complexion. This connotation may be defined as the connotation of attendant features.

IX. Stylistic connotations stand somewhat apart for two reasons. Firstly, some scholars do not regard the word's stylistic characteristic as a connotative component of its semantic structure. Secondly, stylistic connotations are subject to further classification, namely: colloquial, slang, dialect, learned, poetic, terminological, archaic. Here again we are dealing with stylistically marked words (see Ch. 1, 2), but this time we approach the feature of stylistic characteristics from a different angle: from the point of view of synonyms frequent differentiation characteristics.

Here are some examples of synonyms which are differentiated by stylistic connotations (see also Ch. 2). The word in brackets starting each group shows the denotation of the synonyms.

(Meal). Snack, bite (coll.), snap (dial.), repast, refreshment, feast (formal).

These synonyms, besides stylistic connotations, have connotations of attendant features.

Snack, bite, snap all denote a frugal meal taken in a hurry; refreshment is also a light meal; feast is a rich or abundant meal.

(Girl). Girlie (coll.), lass, lassie (dial.), bird, birdie, jane, fluff, skirt (sl.), maiden (poet.), damsel (arch.).

(To leave). To be off, to clear out (coll.), to beat it, to hoof it, to take the air (sl.), to depart, to retire, to withdraw (formal).

5. A man entered the bar and called for "a Martinus". The barman observed as he picked up a glass, "You mean Martini, sir!" "No, indeed I don't," the man replied. "I was taught Latin properly and I only want
one."

6. A foreigner was relating his experience in studying the English language. He said: "When I first discovered that if I was quick I was fast; that if I was tied I was
fast; and that not to eat was fast, I was discouraged. But when I came across the sentence, 'The first one wonone-dollar prize' I gave up trying."

7. J a n e: Would you be insulted if that good-looking stranger offered you some champagne?

Joan: Yes, but I'd probably swallow the insult.

CHAPTER 1 1

Synonyms (continued). Euphemisms. Antonyms

The Dominant Synonym

The attentive reader will have noticed that in the previous chapter much use was made of the numerous synonyms of the verb to look, and yet, the verb to look itself was never mentioned. That doesn't seem fair because it is, certainly, a verb which possesses the highest frequency of use compared with its synonyms, and so plays an important role in communication. Its role and position in relation to its synonyms is also of some importance as it presents a kind of centre of the group of synonyms, as it were, holding it together.

Its semantic structure is quite simple: it consists only of denotative component and it has no connotations.

All (or, at least, most) synonymic groups have a "central" word of this kind whose meaning is equal to the denotation common to all the synonymic group. This word is called the dominant synonym.

Here are examples of other dominant synonyms with their groups:

To surprise — to astonish — to amaze — to astound.

To shout — to yell — to bellow — to roar.

To shine — to flash — to blaze — to gleam — to glisten — to sparkle — to glitter — to shimmer — to glimmer.

To tremble — to shiver — to shudder — to shake.

To make — to produce — to create — to fabricate — to manufacture.

Angry — furious — enraged. Fear — terror — horror.

The dominant synonym expresses the notion common to all synonyms of the group in the most general way, without contributing any additional information as to the manner, intensity, duration or any attending feature of the referent. So, any dominant synonym is a typical basic-vocabulary word (see Ch. 2). Its meaning, which is broad and generalised, more or less "covers" the meanings of the rest of the synonyms, so that it may be substituted for any of them. It seems that here, at last, the idea of interchangeability of synonyms comes into its own. And yet, each such substitution would mean an irreparable loss of the additional information supplied by connotative components of each synonym. So, using to look instead of to glare, to stare, to peep, to peer we preserve the general sense of the utterance but lose a great deal in precision, expressiveness and colour.

Summing up what has been said, the following characteristic features of the dominant synonym can be underlined:

I. High frequency of usage.

II. Broad combinability, i. e. ability to be used in combinations with various classes of words.

III. Broad general meaning.

IV. Lack of connotations. (This goes for stylistic con
notations as well, so that neutrality as to style is
also a typical feature of the dominant synonym.)

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